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No. 5 Hamilton Place, Boston, Massachusetts 



KID CURLERS 



A Farce in One Act 



By 

DOROTHY WALDO 

Author of A Full Houses' '* Sylvia's Aunts;* etc. 



BOSTON 

WALTER H. BAKER & CO. 

1916 



4" <^ 



^K^ 



V 



Kid Curlers 



CHARACTERS 

The Widow Moriarity, a 7ieat, utieducated boarding-house 

keeper, preferably about forty, 
Mike O'Brien, a rather flashily dressed Irishman. 
Jonas Pinch, ati old and ecce?itric bachelor. 
Amanda Gull, a vain old maid, whose hair is always kept curled. 

Time of Playing. — About twenty-five minutes. 



PROPERTIES 

A laundry check, a set of kid hair curlers, a whiskey flask, an 
umbrella, some candles, a doily for a chair back. 




Copyright, 1916, by Dorothy Waldo 

APR 14 1916 
©GID 4 363 



TMP92-007585 



Kid Curlers 



SCENE. — An ordinary sitthig-room in a boarding-house. 
Mantel or table, stage r., with various ornafnefits and 
small boxes on it. Door, stage c. or l., and another, stage R. 

(The Widow Moriarity and Mike O'Brien are discovered 
talkiftg, as the curtain rises.) 

Widow. Oh, but Mike ! To think of the disgrace of it ! 
A stiddy, nice, respectable boarding-house Hke mine ! A pest 
of rats! Why, there ain't been a pest of any kind o' vermin 
in this house since Moriarity himself died, seven years ago 
come April ! 

O'Brien. How about the boarders, Norah ? 
V/iDOW (who has no sense of humor). Oh, I don't note 
them. Them is necessary pests, like twenty-two-cent eggs. 
They will give trouble, but it's them or nothing. But rats ! 
Oh, warra ! vvarra ! 

O'Brien. There, there, Norah, sweetheart, you take on just 
like your Mike wasn't the forninstist man in his profession. 
What for have I been at it twenty-five years, in the homes of 
the first fiimilies, if I can't help you and thim rats out of their 
holes together ? By the way, have you seen me new business 
cards ? (He takes card out of pocket, and reads, then hands 
It to the Widow.) '' Michael John O'Brien, R. R. Orders 
solicited. Call and inspect our work " 

Widow. It's fine printing. But whatever is R. R. ? 
O'Brien. Oh, that's like all professional men. They call 
that a degree. You know how they have '' M. D." standing 
for '^ Murdering Doctor." Well, a feller got this out of a book 
for me : R. R.— Rodent Reducer. It works great. When I 
was just Mike O'Brien, Rat Killer, I got five dollars a job; but 
since I took my degree, \ get twenty-five easy. 

Widow. Oh, but goodness, Mike, I can never pay you that 
for killing the nasty things. 



KID CURLERS 



O'Brien. That's all right, my colleen. I've a scheme to 
make the landlord foot that bill. Not but what I hope to get 
something out of it. How about it, Norah ? Seven year come 
April I been a-ferreting out your tracks; sittmg at the hole 
waiting for you to come out into the bag. Come, now, if 1 
see that every last rat dies out of the house, will you see that 
I die in the house as Mrs. Mike O'Brien's second best? 

Widow. Mike O'Brien, how you talk ! But you get nd of 
'em and I'll be considering. Mind, though, not a word 
of this to the boarders. There's that Amanda Gull, second 
floor front, steady pay, small eater, no callers, is terrified o 
rats. If she knew I had 'em, she'd leave quicker'n scat, bhe 
really oughtn't to know you're here, let alone what for. 
O'Brien. But what if she sees me ? 

Widow. Tell her you're a plumber. You'll have to think 
up something to tell old Jonas Pinch, anyway. He'll be pok- 
ing his nose into this business, sure. He'll say he s looking 
for spies. Spies! Huh! When it comes to^spying out things, 
he can give them furriners trumps, and beat 'em. 

O'Brien. Well, it being down cellar, I'll keep it dark 
Ha I ha ! Pretty good. I'm just going out to get my kit, and 
I'll begin to-night. I guess I'll make out I dunno you at all. 
Widow. Oh, I hope you can do it 1 , , „ 

O'Brien {rising to go). Sure I can 1 Oh, and I tell you 
what I'll do. I'll just slip up here to-night when I m through, 
and put a note on the mantel, to tell you how I get along. 
You'll find it here first thing when you come in the mornmg. 
It means a lot to me, Norah. , , , j 

Widow. Oh, go on with you. Better take the back-door 
key. Oh, and Mike, will you leave this bundle of laundry up 
to the Chinaman's when you go by? 1 do hate to go there, 
for I'm certain that's where them rats come from. ^ 

O'Brien. Oh, no, Norah. They eat 'em. They wouldn t 
be letting any of them go. \^Exit. 

Widow. Let me see. What's the news? {She picks up a 
paper.) Plopstock. That's a funny word. I bet nobody 
knows what that is. Fine ! A good name for the menu ! 
Hash a la Plopstock ! 

Enter Jonas Pinch, his pockets filled with papers. 
Pinch. Evening, Mrs. Moriarity. Reading the dreadful 
news? Terrible ! Terrible I I don't know what we're com- 
ing to ! 



KID CURLERS 5 

Widow. What's so terrible ? 

Pinch. The Japanese situation, madame, the Japanese situ- 
ation. At any moment this country may be bombarded and 
overwhehiied by that nefarious nation. Their secret service, 
madame, knows every ship in our navy, every gun in our forts, 
every rat hole in our cellars ! 

Widow. Oh ! Do they, now ! What for will they want 
to be prying into private business that-avvay? 

Pinch ( growing more aiid more excited). My dear madame, 
we are surrounded by cordons of spies. Why, at this very 
moment I am engaged in organizing an institution, of which, I 
may state, I am first president, to be the Institute for the Inqui- 
sition of Inquisitive Inquirers. Here are the papers — here. 
{Takes bu7idles of papers from ids pockets.) Madame, this 
society will have for its object the banishing of every valet, 
every cook, every laundryman of 

Widow {interrupting). But them ain't Japs; them is 
Chinks. 

Pinch. There is no difference. The slanting eye, the sleek, 
straight hair, are the betraying characteristics of the race. How 
unlike the lovely curls about the face of your Miss Amanda 
Gull. Madame, note my celluloid collar. Why? Once, 
madame, unobserved, I beheld a yellow laundryman at work. 
He was squirting the poison of his lips over unsuspecting 
bosoms ! Should I don such a shirt, I should die in agony, of 
jaundice, or some other disease peculiar to the yellow race ! 

{As he ceases, Miss Amanda Gull enters.) 

Miss G. Oh, Mr. Pinch ! How overwhelming ! But you 
would protect us. You are so chilvarous. 
Widow. Huh ! 

{She sniffs y and goes out, unobserved by the others.) 

Pinch {gallantly). Miss Gull, my every effort would be to 
save those lovely curly locks from destruction. 

Miss G. I knew you would ! You know, the minute I saw 
you, I said, ''There's a virulent man." If there's anything I 
admire, it is a virulent man. 

Pinch. Madame, my virility is yours. But about these 
spies 

Miss G. Oh, spies ! I don't think of them. The govern- 
ment can compress them at any time. 

Pinch. But, madame — - 



6 KID CURLERS 

Miss G. {tiot heeding him). Now, what I am afraid of is 
rats. Somebody told me they were carvinorous beasts. It 
seems so awful to be carvinorous ! 

Pinch (still fussing over papers'). But 

Miss G. And drinking ! 1 have been so terrified for fear I 
might be pursued by an intocisated invidual ! 

Pinch {interrupting desperately). Miss Amanda, there are 
no rats here. I may also confide in you that I am the presi- 
dent of the Institution for Inhibiting Intoxication. But 

Miss G. {simperi^ig). Then you are a teetotaller, too? 

Pinch. Well But, Miss Gull, our danger lies in the 

Japanese invasion. We never know when a bomb may send 
us all in pieces over the universe. Now, even this very even- 
ing I saw a most suspicious character lurking about here. 

Miss G. Oh, I saw him, too. He wasn't a Japanese. He 
was quite evidently Irish. 

Pinch. My dear young lady, that's the diabolical part of it. 
Those races can assume any disguise at any moment. 

Miss G. Oh ! 

Pinch. But we will be watchful ! It may take all my inge- 
nuity to ferret out what that person was doing here, but 

Miss G. Oh — have you much inniguity? 

Pinch {ignoritig her). Now, here is a phonography record 
which contains a Chinese song. You must get some idea of 
the Asiatic voice. 

Miss G. Oh, do play it. I just love a graphamoan. 

Enter the Widow, significantly^ 

Widow. Good-night, Miss Gull and Mr. Pinch. When 
you are going up-stairs, will you be so good as to turn the gas 
out entirely? I think I'll not be sitting up any longer. \Exit. 

Miss G. I — I — suppose she wants to innisuate that we had 
better be going up, too. Bon jour, Mr. Pinch. 

Pinch {who has been absorbed in the Victrola). Oh — er — 
good-night, Miss Gull. Remember — on the watch ! We can't 
have those lovely curls harmed ! 

{They exit singly^ turning light low.) 

O'Brien {entering immediately with a piece of cheese and a 
small bag in his ha?id). Well, I thought the cheese would 
melt in my fingers, waiting for them to go. I never hoped to 
get a chance to stuff up the holes in here. Nuts, them two 
are. Cracked nuts ! Not any meat on 'em, either. Ain't sh§ 



KID CURLERS J 

daffy on him though ! Well— here's the old lady's laundry 
check. I'll put it here on the mantel. (Puts check on the 
ffiajitely then moves around the room, stuffing up the holes with 
bits of glass from his bag. Also breaks off a piece of cheese 
every once in a while, a?id nibbles o?i it till the cheese is all 
go fie.) Huh ! Don't wonder the boarders didn't want this 
cheese. Doubt if any self-respecting rat would bother to eat 
it. Not much of it, anyway. ... All I really need is 
enough to make a trail into the kitchen. (^He sniffs at his 
fingers.) Huh ! Might just draw my fingers along the carpet. 
(^Finishes eating last bit of cheese.) Well, that hole is stopped 
up. Now for the cellar ! 

{He exits as Pinch enters in a bathrobe, with glass and 
whiskey flask and candle.) 

Pinch. I really didn't tell her I was a teetotaller. Any- 
way, I don't drink. I just sip, for strength in moments of 
stress. Other men make a vice of it ; not I, not I. Now, a 
little hot water from the kitchen kettle ; a wee bit of sugar ; 
and — and {He goes out into the kitchen.) 

Enter Miss G. She is also in a bathrobe, candle in hand. 
Her hair is very conspicuously tied up in kid hair curlers. 

Miss G. I was sure I heard a noise. He told me to watch. 
I will be brave. 

{She peers about in corners of room. As she does so, Pinch 
appears in kitchen doorway, rubbing his stomach and 
speaking to himself audibly.) 

Pinch. Ah-h-h-h ! That was a fine little nightcap. 

(The two discover each other simultaneously. Miss G. 
squeaks, and Pinch dodges back into kitchen with flask.) 

Miss G. Oh, please, Mr. Pinch, wait a minute, just a min- 
ute. {She rushes to c. , tearing off the kid hair curlers and puts 
them hastily into a box on the mantel.) Oh ! How horrible ! 
And he did so admire my beautiful hair. I really began to 
have some hope ! {She seizes a doily, which has been draped 
on the back of a chair, and hastily pins it on her head like a 
boudoir cap. ) Did you say you had — say something about a 
pightcap, Mr. Pinch? Curious; I was just arranging mine; 



8 KID CURLERS 

only we call ours boudoir caps. You will pardon my de- 
bashille, I know. Can I help you find your nightcap ? 

Pinch {fuuch embarrassed). Why, no, Miss Gull, 1 — er — 
er — I think 1 know where it is; er — er — I am sure I know 
where it is. I see you discovered yours — er — er — very lovely 
with those graceful tendrils curling from beneath it. But I 

won't detain you — er — good-night My Heavens ! What 

is that ? 

{As he edges past the mantel^ he discovers the laundry cheeky 
a?id poi?its at it in horror.) 

Mi^sG. (aside). The kid curlers ! {To him.) Oh— oh— 
don't go near them 1 

Pinch. Woman! In my position, I must! {He picks up 
the pink laundry check.) Do you know what this is? 

Miss G. {inuch relieved). Oh^ that / {Giggles.) It looks 
like a game of tic-tac-toe ! 

Pinch. That is Japanese script 1 I knew it ! That suspi- 
cious character I saw here this afternoon ! A secret note left 
at midnight for a confederate in the house ! There must be a 
conspirator here ! 

Miss G. {timidly). Yes, I saw it. 

Pinch. It? What? Where? 

Miss G. The cuspirator. It's in the smoking-room. 

Pinch, /mean a 7nan. But let me investigate still further. 
{He looks in box on mantel while Miss G. titters about, hesi- 
tating to stop hitn.) Merciful Powers ! What have we here? 
{He lifts the kid curlers, one at a titne, gingerly from the box.) 
Do you know what these are ? 

Miss G. Tee hee ! Tee hee ! 

Pinch. To laugh in the face of death ! The fuses of bombs ! 
I see it now ! An inside job, to blow us up. Be brave, Miss 
Gull, be brave. 

Miss G. {burying face in hands in hysterical laughter ; he 
thinks her overcome). He-he-he-he-he I 

Pinch. You really must be brave ! I will just secrete these 
upon my person for evidence. Let us hide here, and when the 
scoundrel enters, confound him, I shall have some practical 
gift to make to the society. I haven't my glasses here. Will 
you examine this slip more closely ? 

Miss G. There's some writing on the back. 

Pinch. I knew it. Read it ! 



KID CURLERS 



Miss G. First it's Wid. M-o-r 



Pinch. The Widow Moiiaiity, yes — yes. 

Miss G. Then there's a three, and an m, I think it is ; and 
a word beginning with g. G-n-s 

Pinch. Horrors upon horrors ! Three machine guns ! 

Miss G. And then four c-o-1 

Pinch. Powers of Darkness ! Attacking in four columns ! 

Miss G. And then forty c-e-n-t 

Pinch. Forty centimeter guns ! The deadliest weapon 
made. This is no petty plot ! This is an invasion in force ! 
We must expose it ! We must warn the government ! 

Miss G. Sh-sh ! I hear something — up-stairs. 

Pinch. Quick ! This way ! Out under the stairs and 
hide. 

(^Exeunt stage, r. or l., as O'Brien efiters fro7n kitcheti 
door with Pinch's whiskey flask in his hand.) 

O'Brien. Now, who do you s'pose left that a-layin' tasty 
and temptin' on the kitchen table? It smells like it were full 
o' the creature ! Jt is full o' the creature ! But no taste on 
duty is the rule of Mike O'Brien. I want to leave a note for 
the old girl, for Pll be going home now in a hour or two, with 
me job all done. [He scribbles a note and puts it on the man- 
tel.) Hullo ! She took the laundry check. I thought she'd 
be abed long before I brought it in ! 

(^Exit as Pinch and Miss G. back in slowly , hand in hand, 
watching something approach, ) 

Miss G. It — it — it seems to be coming. Do you suppose 
it is carvinorous ? 

Pinch. Probably — but I will p-p-protect you. I will pro- 
tect you — I w-w Oh ! You ! 

{The Widow enters in absurd dignity. A hideous flight - 
cap is over her head, a blanket over her shoulder. In her 
hand she carries a stout umbrella. In the candle light 
she is grotesque. ) 

Widow. I thought I heard sounds as didn't belong in no 
boarding-house. Mr. Pinch, you have always passed for a 
gentleman. What'U you say? 

Pinch. Madame, we were engaged in 



10 KID CURLERS 

Widow. I don't care if you was engaged. Are you en- 
gaged now ? 

Pinch. Madame, I was about to propose that 

Widow. Well, 1 think you'd better propose now without no 
beating about to it, and Miss Gull better accept you, too. 
Either that, or move out in the morning. 

Miss G. Oh, Mrs. Moriarity, this ia so sudden ! 

Pinch. Miss Gull, let us satisfy Mrs. Moriarity. 

Miss G. Oh, Jonas ! Jonas ! Joney ! 

Pinch. It will make no difference, since we shall all be dead 
in the morning, anyway ! 

Widow; What do you mean, you old scoundrel? 

Miss G. Madame ! You are addressing my finance. 

Pinch. Briefly, madame, this house is the center of a Japan- 
ese plot. I have already intercepted a note in cipher, and the 
fuses for several bombs. 

Widow. What ? Where ? 

Pinch. Here. On the mantel. {Steps to the mantel.') By 
all that's evil ! Here's another note ! Where could it have 
come from? This quite un-nerves me ! 

Miss G. Read it, if you can. Quick ! 

Pinch (ope?iing 7iote and staring ; then reading). "Every- 
thing going fine. All dead by morning sure." By morning. 
Eight more hours of life ! 

Widow. Look a-here. That don't mean us. That 

means (^Breaks off suddenly , as she realizes Miss G. 

Aside.) Oh, lor ! Miss Amanda. Rats ! 

Pinch. Amanda, if I cannot save us 

(^They talk together.) 

Widow {down stage ^ l.). Here's where I find out whether 
Mike O'Brien is worth his salt. {Back stage, r.) Mr. and 
Missus, I know for sure those aren't us. Now, there's a friend 
of mine, a plumber, a- working in the cellar 

Pinch. Now ? Very suspicious. 

Miss G. Why should he be working this time of night? 

Widow {icily). It might be because the water had to be 
turned off, and this is the only time night or day that the board- 
ers aren't breaking the rule about light laundry work and shav- 
ing in the bath room. 

Pinch. But he might be a plumber and a spy also. They 
often are. 

Widow, Don't fret yourself. If he was a plumber he'd be 



KID CURLERS II 

a robber, too ; they always are. But Mike O'Brien ain't a 
murderer of human beings. I'll have him up. 

\^Exit, via kitchen door. 
Pinch. Amanda, my love, I think I will procure my gun. 
Preparedness, you know. You do not fear to wait, 1 know. 

[^Exii stage, r. or l. 

Eftter Widow afid O'Brien. 

O'Brien (Jo Widow). 'Tis best to tell the truth in modera- 
tion, in moderation. 

Widow. As ye think best, Mike, as ye think best. Miss 
Gull, can I make you acquainted with my friend, Mr. O'Brien ? 

O'Brien. 'Tis a charmed man I am, Miss Gull. Thewid- 
der is tellin' me you are choosin' a suitor from the beggin' 
hundreds at your feet. 

Miss G. Yes, Mr. O'Brien, I am. 

O'Brien. Well, miss, you'll excuse me if I come to business 
right away. I am a pest exterminator. You will need to con- 
sult me if you marry Mr. Pinch. 

Miss G. I — I don't understand you. 

O'Brien. Well, let's take this house. Now, all houses 
have pests of some sort. Let's say this is — is centipedes. 
Yes, centipedes. I come in. I work a few hours quiet like. 
Whiff! there ain't a centipede in ten miles. 

Miss G. Oh, how awful ! How lovely of you. (^Faintly,) 
Are — are cepentides carvinorous ? 

O'Brien. Huh? Oh, no, they have eight legs. 

Miss G. Oh, and do tell me, if you are an excerpt on pests. 
Are rats carvinorous ? 

O'Brien. Why, bless your heart, miss, I been workin' 
among *em for fifteen years, and 1 never see one carvin* yet. 

Miss G. What a relief. And that note indicated cepen- 
tides? 

O'Brien. It did, miss. And the pink slip was a laundry 
check. I dunno about them things the widow calls fuses. 

Miss G. Oh, but I do. Mr. O'Brien, those were some 
pernosal property of mine. Oh, very pernosal. I must get 
them back. You see, they were made to order, and — and I 
can't get any more like them. 

O'Brien. Well, ask Mr. Pinch for 'em. 

Miss G. Oh ! 1 can't ! He mustn't know they were 
mine ! Won't you get them back? 



12 KID CURLERS 

O'Brien. Well, I dunno. I don't see how I can ! — Yes, I 
do, by gum ! I'll get 'em for you ! You and the widow clean 
out and let me talk to him. 

Miss G. Oh, thank you, my perverser ! 

[ They exeunt as Pinch enters. 

Pinch. Well, sir, are you a plumber ? 

O'Brien. No, 1 aren't. 

Pinch. I knew it. What are you ? 

O'Brien. A rodent reducer. 

Pinch. A what? 

O'Brien. Rodent reducer. Rat killer. I put that note 
on the mantel to tell the widder, who I may say I hope won't 
long be a widder, how I was getting along on the job. Them 
rats not only will be dead by morning, but they is dead now. 

Pinch. Preposterous ! You think to blind me by glib ex- 
planations. Explain this if you can, and the directions on the 
back. 

{He holds out Iau?idry check.) 

O'Brien. That's a laundry check. 

Pinch. Nonsense ! 

O'Brien. What's the list? 

Pinch. Three m-g-n-s. Three machine guns. 

O'Brien. That ain't an m; it's an n. Three night-gowns. 

Pinch. Oh ! 

O'Brien. Next? 

Pinch. Four c-o-l-s. Four columns. 

O'Brien. Four collars. 

Pinch. Oh ! 

O'Brien. Next? 

Pinch. Forty c-e-n-t. Forty centimeter guns. 

O'Brien. Forty cents due. And a fool you're making of 
yourself. 

Pinch (clinging to last hope). Very smooth, sir, but how 
do you explain these ? 

{He holds out curling kids.) 

O'Brien. Oh, them? Them's um ! Why — er — er — I use 
them in the rat business. Er — if you put 'em down a hole — 
um — a — um — you can always tell if there's a rat there ! 
Give 'em to me 



KID CURLERS 



13 



Pinch. Not quite so smooth, eh, Mr. O'Brien? No, sir. 
I shall keep them as tangible evidence. 

{Puts them in. pocket.) 

O'Brien. Oh, well, if you won't give 'em away, suppose 
we swap ? 

Pinch. Swap ? 

O'Brien {taking whiskey flask out of pocket). This. It's 
up to you, mister. Either you hand over them things to me, 
or I hand over this flask to the lady — with your initials right on 
it. And remember you're a toeteetaller, too ! He ! He ! 

Pinch. Sir, I will not be intimidated. As president of the 
Institution for Inhibiting Inquisitive Inquirers, i refuse ! 

O'Brien. Well, 1 tell you what. "^WS. you give 'em to the 
lady? 

Pinch. To Miss Gull ? Why ? 

O'Brien. Oh, it's just a whim of mine. I can get more if 
I need 'em. Will you ? I'll return the flask private the minute 
you do. 

Pinch. Why, I see no objection. Amanda would give 
them to me at any time. Yes, yes, 1 will. 

Enter Miss G. and Widow. 

O'Brien. Miss Gull, Mr. Pinch is satisfied that I am what 
I look to be, an honest pest exterminator, that's just completed 
a good job. He's willin' you should accept them things he's 
got as a souvenir from me. 

Miss G. What things? (Pinch holds out the kid curlers.) 
Oh I Yes ! I'd love to. 

{As she takes them, O'Brien /^jj^j behind Vmcu and slips 
the flask in his pocket. He then goes over to Widow. 
Pinch is standing by Miss G.) 

O'Brien (to Widow). Say, what are them things? 
Miss G. {to Pinch, playfully). Jonas, just what did you 
say these things were ? 

Widow {scornfully, to O'Brien). Curl papers, booby. 
Pinch {indulgently, to Miss G.). Fuses, my dear. 



CURTAIN 



New Plays 



LOST— A CHAPERON 

A Comedy in Three Acts 

By Courtney Bruerton and W. S. Mauhhy 

Six male, nine female characters. Costumes modern ; scenery, an in- 
terior and an easy exterior. Plays a full evening. An excellent comedy 
with the true college atmosphere but with its scenes away from actual col. 
lege life. A breezy lot of college girls in camp lose their chaperon for 
twenty-four hours, and are provided by a camp of college boys across the 
lake with plenty of excitement. The parts are all good and of almost 
equal opportunity, the situations are very funny and the lines full of laughs. 
This is sure to be liked by the young people for whom it is intended, and 
is strongly recommended for high-school performance. Price^ 2^ cents, 

CHARACTERS 

George Higgins, a Tuffs A. B. . . . Ernest S. Swenson 

Jack Abbott, ^Tuf{ s sub-freshmen, camp- Stanley M. Brown 

Fred Lawton, ) ing with Higgins . . Arthur J. Anderson 

Raymond Fitzhenry, a Harvard student Arthur T. Hale 

Dick Norton, ) ^ j,.„ ,^ .„,^_ Ernest A. Larrabee 

Tom Crosby. \ '■^'^'" engineers , . Ferdinand Bryham 
Marjorie Tyndall, George* s cousin: a 

Smith girl Helen J. Martin 

Alice Bennett, '\ Dorothy F. Entwistle 

Agnes Arabella Bates, I «y ^t ^ • /^ Edith H. Bradford 

Ruth French, f J^^^f^^on gtris Marjorie L. Henry 

Blanche Westcott, J Beatrice L. Davis 
Mrs. Higgins, the chaperon. George's 

mother Effie M. Ritchie 

Mrs. Sparrow, a farmer's wife, {Not in the original cast.) 



Mandy, }^^^^^«.^^^^^-^- 



SYNOPSIS 
Act I.— The Girls' Camp at Sherwood, 7 a. m. 
Act II.— The Fellows* Camp at Sherwood, 8 A. M. 
Act III. — Same as Act I, 10 a. m. 

A BRIDE FROM HOME 

A Vaudeville Sketch in One Act 

By Willis Steell 
Two male, two female characters. Costumes modern ; scene, an in- 
terior. Plays twenty minutes. A capital sketch of Hebrew life and 
character, combining good comedy with genuine pathos. Moves very 
swiftly and is very effective. Can be strongly recommended for either 
vaudeville use or for amateur theatricals. Price^ 75 ants,. 



New Entertainments 



TAKING THE CENSUS IN BINGVILLE 

An Entertainment in One Act 
By Jessie A. Kelly 
Fourteen males, eight females. Costumes, modern ; scenery, unim- 
portant. Plays an hour and a half. One of the always popular go-as-you- 
please entertainments ; just a lot of laughs strung on a very slender wire 
of story. Full of eccentric character bits and chances for local hits. A 
sure success for the laughter-loving. Recommended for church societies 
or intimate communities. 

Price, 2S cents 

CHARACTERS 

Census Taker. Mr. Single, an editor. 

Rosy Grady, an Irish maid. Mr. Jepson, a grocer-postmas- 

Patrick Malone, a policetnan ter. 

who didnt want to be exam- Mrs. Sampson, who has a large 

ined. fajnily. 

Bill Watt, not so bright, but Mr. More, an undertaker. 

still gets ahead of them all. Mrs. Murphy, who is proud oj 

Mr. Harder, chauffeur. hernatne. 

Mr. Knott, aerojiaut. Miss Hartley, a teacher. 

Mr. Stone, farmer who has Mr. Sharp, a lawyer who is 

rheumatiz. looking for clients. 

Mrs. Jones, a much married Tony, a fruit dealer. 

woman. Mr. Elwood, a ?ninister. 

Mr. Saloon, a barber who is Mrs. Stone, a farmers wife 

*'Henglish'^ who is afraid she has hook- 

Dr. Duncan. worm. 

Mr? Tibbets, who tries to be Susie Gibbs, who is love-sick. 

young. 

THE DAY OF THE DUCHESS 

A Farce in One Act 

By Alice C. Thompson 

Twelve females. Costumes, modern; scenery, an easy interior. Plays 

thirty minutes. A clever and amusing little play for all girls, particularly 

suited for schools because of its number of small parts. Requires only 

three or four prominent people. Recommended. 

Price, 15 oents 

AN IRISH INVASION 

A Comedy in One Act 

By Alice C. Tho7npson 

Eight females. Costumes, modern ; scenery, an easy interior. Plays 

thirty minutes. A very pretty and touching little play with plenty of fun 

introducing refined Irish characters, old country and new. A most 

original and effective idea, and sure to please. Nothing coarse and rough 

about it i tone high and well suited for schools. 

Price, IS cents 



Jl* UJ. Pinero's Plays 

Price, 50 getite €acb 



IWin THANNF! ^^^^ ^^ ^^"^ ^^^^- six males, five females. 
iTIIiy-\yAl/^l'«l'«LiLi Costumes, modern; scenery, three interiors. 
Plays two and a half hoars. 

THE NOTORIOUS MRS. EBBSMITH 5S?"'^i^g°h"J 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THF PRflFTIf^ATF Playln Four Acts. Seven males, five 
t llLi 1 l\\Jl Ltl\Jt\ 1 Lj females. Scenery, three interiors, rather 
elaborate ; costumes, m'odern. Plays a full evening. 

THF QrHOni MKTRFQ^ Farce in Three Acts. Nine males, 
IflEi i;3\..ril/UL.miL> 1 IVCOO seven females. Costumes, mod- 
ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY ^lli^ISI'ZXi 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

^WFFT I AVFWriFR Comedyln Three Acts. Seven males, 
iJTT £11:11 LiAVLiillL/EiIV four females. Scene, a single interior, 
costumes, modern. Plays a full evening. 



Ten males, 
ree interi- 



THE THUNDERBOLT ^Zfl,lll°%.i%.tl 

ors; costumes, modern. Plays a full evening. 

THF TIMF^ Comedy in Four Acts. Six males, seven females. 
lfl£t lliflEiiJ Scene. a single interior; costumes, modern. Plays 
a full evening. 

THF WFAK'FR QFY Comedy in Three Acts. Eight males, 
in£< VV £i/l.l\.£iA. OCiA eight females. Costumes, modern; 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE g^r-^L^Mou^rf^mlfS: 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

Waittv ^. pafeer $c Companp 

No. 5 Hamilton Place, Boston, Massachusetts 



LIBRftRY OF CONGRESS 

■H 

of ^la?s 



AC Vnil I ICF IT Comedy in Five Acts. Thirteen males, four 
Aw lUU iflllC H females. Costumes, picturesque ; scenery, va- 
iled Plays a full evening. 

CAMIITP Drama in Five Acts. Nine males, five females. Cos- 
Amilrl^C tumes, modern j scenery, varied. Plays a full evening. 

INfinifAD Play in Five Acts. Thirteen males, three females. 
milUfllAA Scenery varied ; costumes, Greek. Plays a full evening. 

MADV QTFTADT Tragedy in Five Acts. Thirteen males, four f&- 
ulAI\I DlLAm males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

TBE MERCHANT OF VENICE StL'Jelirmt?^ SoIfSSlJ; 

picturesque ; scenery varied. Plays a full evening. 

DimPI IPTT Play in Five Acts. Fifteen males, two females. Scen- 
iVlvllCMC'U ery elaborate ; costumes of the period. Plays a full 
evening. 

THP DIVAIC Comedy in Five Acts. Nine males, five females. 
IIUJ AlTAI^J Scenery varied; costumes of the period. Plays a 
fall evening. 

SuG STOOPS TO CON^}llER nSS, four females. Scenery va- 
ried ; costumes of the period. Plays a full evening. 

TWELFTH NIGHT; OR, WHAT YOD WILL iX'AnIK 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

Walttt ^. OBafeer & Company 

Fo. 5 Hamilton Place, Boston, Massachusetts 

6. J. PARKHILL & CO.. PRINTERS. BOSTON. U.S.A. 



LIBRARY OF CONGRESS 

015 793 132 5 ^ 



HoUinger Corp. 
pH 8.5 



